Visual Art Forms of Bihar: Tikuli, Manjusha and Madhubani
Developed in the historical regions of Magadh, Ang and Madhubani, respectively, these three styles of paintings may appear similar at first glance but have quite distinct histories. While Tikuli mainly depicts stories from ‘Krishna-leela’, marriage scenes and festivals of Bihar, Manjusha paintings focus solely on the story of the folklore couple ‘Bihula-Bishahri’. On the other hand, Madhubani paintings depict a wide range of scenes, including villages, marriages, festivals, folklore and working women etc.
Tikuli art traces its origins to the Mughal era almost 800 years ago. ‘Tikulis’ or ‘bindis’ are tiny dots often made of vermillion, felt or metal used by women to adorn their foreheads. Tikuli art, with glass as its base, was patronised by the Mughals. It was made for aristocratic women and as trading items to other regions of India. Its lengthy manufacturing process involved melting the glass into thin sheets, cutting it, scrawling designs, painting them, and fixing jewels and foils. Finally, it was coated with acacia glue to hold it all in place. Its bright, reflective surface had a mesmerising effect. Muslims and Hindus made these ‘tikulis’ together, each responsible for a different process.
Gradually, with industrialisation, it became increasingly difficult to manufacture ‘tikulis’. What was once an adornment for the select few, with industrialised manufacture, became available to everyone. Unfortunately, this simplification cost the ‘tikuli’ its uniqueness and exquisite beauty, causing its decline with the fall of its chief patrons: the Mughals. Tikuli art was revived in the 1950s by painter Upendra Maharathi, who took inspiration from the Japanese and reintroduced the old designs and motifs on new materials like the hardboard (or MDF).
Its major themes are inspired by mythologies, gods and goddesses and local customs, apart from stories of Lord Krishna. These are more simple in style than Madhubani and Manjusha and are focused on the theme rather than style. Instead of glass ‘bindis’, ‘tikuli’ paintings are now done on various handicraft decorative and everyday items, thus completely transforming the now-extinct art form and reintroducing it to the public for the benefit of both the artists and the region.
Manjusha is an ancient art form originating in the Ang region (present-day Bhagalpur, Bihar) during the 7th century. Manjusha means ‘box’ in Sanskrit, representing ceremonial boxes made with bamboo, jute and paper for Bishahri Puja. This box would be decorated with the husband, Bihula’s story and various flowers and trees from the Ang region. Manjusha was historically practised by two castes: the Kumbhakars and the Malakars.
Unlike Tikuli and Madhubani, Manjusha art only uses three colours, namely red, yellow and green, with black being used as the background nowadays. Sometimes it is also called ‘snake painting’ due to the abundance of snake motifs in its themes, apart from the champa flowers, birds, fishes, shivlings etc. Derived from the Madhubani style of painting, Manjusha painting has integrated the motifs and created its own region-specific themes.
Although nowadays, artists are experimenting with motifs and colours, giving the art form a more modern aesthetic. It was first revived in the 1930s by the British government, then in the 1980s by the Bihar government. Artists like Chakravarty Devi and Jyoti Chand Sharma helped bring the obscure art form to the forefront. Artist Manoj Pandit created a financially and culturally beneficial environment for the artists. He also experimented with different materials, making the art more commercially viable.
The most prolific of the three painting styles is Madhubani or Mithila painting. Originating in the Mithila region of Bihar, it is traditionally done on the walls of the house by women of the family during weddings- kohbar (the marriage chamber), upanayan, Chhath, Kali Puja, Durga Puja etc. The materials used for painting are versatile, including sarees, handicraft items, clothes, wall hangings etc.
Madhubani and Manjusha arts trace their revival to the same source, a British office called WG Archer, who found these paintings in houses that succumbed to the 1934 earthquake in Madhubani. These paintings travelled from walls of homes to paper during the draught of 1966, when the government encouraged women to use their art to earn a livelihood other than agriculture. Gradually they attracted the attention of national and international scholars and art enthusiasts.
In the 1990s and 2000s, with the help of trade fairs organised by NGOs and the government (NABARD, Mahila Udyog Sangh etc.), many small-scale artists from the Mithila region gained recognition. In 2020, the Government of India granted the Padma Shree to a Madhubani artist, Dulari Devi, for her contribution to art. Through the efforts of the government, NGOs, and personal efforts by art enthusiasts and scholars, Madhubani has become one of the most recognisable art forms coming from India.
The three art forms are an integral part of Bihar’s culture. Not only do they depict the lives of the local people, but also act as a visual medium of expression for the oral tradition and folklore of the state. To emphasise this, in 2019, the streets of Patna, Bihar, were adorned with various local art forms, including Tikuli, Manjusha and Madhubani. Many artists from Madhubani and students from Patna Art College were invited to contribute to the murals. But these opportunities are a rarity, and the artists were paid a meagre sum of 200 Rupees each. In many similar incidents, the artists do not receive royalties or proper payments for their works sold at international trade fairs or abroad. Due to the prevalence of middlemen, the artists often do not receive their due payment and recognition. It is high time for government intervention to revise their own practises and protect the artists, ensuring they do not get exploited and get their due.